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Experimental Animation Art 326 Experimental Animation Instructor: Amy Hicks MW 3:35 pm – 6:30 pm Contact: [email protected] / Office: Taylor Room 013 Taylor Hall Room 022 & 016 Office Hours: MW 11:00 am - 12:00 pm and/or by appointment FI R ST T HI N GS FIRST : T HE S AF E T Y O F O UR LE AR NI N G E NVIRONMENT Student learning can only occur when students and their instructors feel safe, respected, and supported by each other. On the first in-person class session of the semester you will select your seat. This will become your assigned seat for the entire semester. To ensure that our learning environment is as safe as possible, and in keeping with CDC guidelines to slow the transmission of COVID-19, our in-person class sessions will adhere to the practice of physical distancing. This means that you: • Should avoid congregating in groups outside of the classroom before and after class • Return to your assigned seat for the entirety of the semester • Upon entering the classroom, wipe down your seat and desk area • May not move your chairs/desks from their designated positions at any time • Must remain at least 6 feet apart from your classmates, Teaching Assistants, and instructors at all times • Must wear a cloth mask that covers your nose and mouth As necessary, the University may announce modifications to these practices. In that event, these guidelines will be updated to reflect those modifications. If you do not feel that you can maintain these practices over the course of the semester, you are encouraged to consider online-only courses. CO UR SE STR UCT URE T O COMPLY WITH UNI VE RSI TY COVID G UIDELINES This in person course will use two primary classrooms during our designated meeting times: Taylor Lab 022 and Taylor Room 016. You will be assigned a work station in one of these spaces that you will use for the entire semester. Each week I will split my time between rooms. At the start of class, announcements and presentations will be made with Zoom turned on. Each Tues / Thurs students in the alternate room will be asked to join the class via Zoom. Access to the lab is restricted by capacity limitations. No more than 12 people allowed in Taylor 022 at a time and no more than 7 people allowed in room 016. The Canvas Course site will have links to videos and tutorials for each project. It is expected that you watch these prior to class. Much of your filming and shot planning will occur outside of class time. In person class time is precious; we will use this for problem solving, group discussions, critique, editing and presentations. We may also meet outside and/or use the lighting studio for specific projects. These times will be announced in advance. C O U R S E D ESCRIPTION If animation was once understood as an adjunct of film and a backwater in cinema, it now finds itself as the core condition of film-making per se. … Lev Manovich concludes it is ‘live action material + painting + image-processing + compositing + 2D computer animation + 3D computer animation,’ adding that ‘…cinema can no longer be clearly distinguished from animation.’ —Paul Wells from “Re‐Imagining Animation: The Changing Face of the Moving Image” This studio class explores experimental techniques in animation while addressing fundamental problems such as rhythm, timing, and sound. Emphasis is on conceptual idea and development, abstract and material processes, and locating narrative flow in technique. Students will research, discuss, and interpret the cultural and historical fascination with animating the inanimate through screenings, lectures, and readings. We will gain proficiency with digital cameras and audio recorders while working through a variety of techniques and formats that may include stop motion, hand drawn, rotoscoping, collage, pixilation and 3D animation. The final project output is in digital format. -1- Art 326 Experimental Animation Instructor: Amy Hicks The course's framework is centered on the idea of multiple iterations—designing and creating experimental animations frequently and with variety—as opposed to focusing on a single finished piece. I recommend that you make something you can ONLY do with animation; don’t purely reiterate life, comment on it as well. Make this class an investigation of your inclination to animate. Make the impossible. Intensive technical instruction is provided alongside a dynamic exploration of historical and contemporary techniques, aesthetics, and conceptual issues, within a supportive critical environment focused on the development of the student's own work. Please feel free to take an experimental approach to the projects, as our goal is to expand on the discourse of animation. S T U D E N T L E A R N I N G O UTCOMES Students will learn to: • Individually and collaboratively create time‐based work that engages audiences. • Use storyboards to efficiently plan the structure of time-based projects. • Effectively compose using camera angle, exposure, lighting, rhythm, color, and sound. • Prepare oral and/or written analyses of animation history and its relationship to student work, machine culture, game industry, and mechanical wonders. • Conduct research to develop original ideas for animations. • Critically shoot and edit animations independently using digital cameras, frame grabbing software, and non-linear editing software. • Interpret key concepts, techniques, and vocabulary at an advanced level to discuss readings and critique student work orally and/or in writing. • Experiment and take risks with digital and/or analog media to investigate the relationship between maker and media culture. P ROJECTS There are four exercises and three projects. Assignments are due at the start of class uploaded to Vimeo and Canvas. Post reflections on Canvas. Reflections are required for each project and are part of your grade. Save everything as you are required to turn in all of your completed work as compressed data files (USB key) and on-line (Vimeo). Projects will be peer-critiqued in class. Be prepared to discuss your work and ideas. S T U D E N T R ESPONSIBILITIES & A TTENDANCE The whole point of this class is to learn from DOING, watching, listening, and discussing. You will learn from each other perhaps as much as you will learn from the artists’ work presented, readings, discussions, lectures, and demos. All of these require PRESENCE in the classroom. Therefore, attendance is mandatory. One unexcused absence for the course will be permitted without impacting your grade, unless it is a day when projects are due. For every other absence, your grade will be impacted by seven points (1/3 letter grade). Being more than 10 minutes late for class three times will equal one unexcused absence. H O M E W O R K E XPECTATIONS While it is often difficult to quantify the time needed to successfully complete an artistic project, you are expected to work on studio assignments outside of class at least the same number of hours the class meets per week. For this course, you are expected to work at least an additional six or more hours outside of class. L ATE - W O R K P OLICY In general I do not accept late assignments. I will only accept assignments late if you have an excused absence from class or in an emergency situation, which you have spoken with me directly. If an assignment is turned in late, it will be given only partial credit. -2- Art 326 Experimental Animation Instructor: Amy Hicks L A B A N D E Q U I P M E N T U S E P OLICIES This semester Nate Sherman’s office hours are: Wed - Fri from 8:30 am - 4:30pm. Additional hours for lab techs will be posted. Reservations for equipment MUST be made in advance. Equipment demonstrations and technical practice will take place in the digital project space. We may also visit and use equipment and facilities at the SMDC (basement of Morris Library). Although technical demos will be taught in class, self-guided Adobe Premiere and AfterEffects tutorials are available for further study. Software available in the Lab includes: Adobe CC (Photoshop, Illustrator, Premiere, After Effects) and DragonFrame among others. Lab hours for Taylor 22 are posted on the door. In order to use either lab and/or any production equipment (cameras, mics, tripods, lights, etc.) you will have to abide by the Art Department’s Equipment Loan policies and regulations. You are fully responsible for loss or intentional damage of equipment. Equipment will be available for use for two to three days at a time from the equipment cage in the basement of Taylor Hall. The SMDC (basement of Morris Library) also provides cameras, tripods, lights, editing suites, etc. However, equipment is available on a first come, first serve basis! Plan your time accordingly. Policies are posted on your Sakai course site and also available from the equipment cage. C ONSUMABLES This class has a required consumable student fee of $15.00. This fee must be paid by the drop/add date of Friday, February 26th. If you do not pay this fee you must drop the class by drop/add date. Please go to the website, https://commerce.cashnet.com/UDELART and select the course(s) you need to pay a fee for, add to shopping cart and/or proceed to checkout. At this time only checks are being accepted as a payment method. You will need to have your Bank account number, account, account type (i.e., checking, savings) and the Routing Transit number for your bank. You will be emailed a receipt. Please print the receipt and turn it in to your Instructor.
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